After some misunderstanding, Sakaguchi is hired to make a tourist guide video on Tobako (a fictitious name for Kawaguchi) in the outskirts of Tokyo. This element in the script sparks off a fanciful wandering strewn with unexpected meetings. First with Kitagawa, thanks to whom Sakaguchi landed the job. Then with a seamstress, and then with Yoshino, with whom a half-hearted romance emerges. Thus the narrative unfolds, in halts and swerves, espousing unexpected meetings, and offering the strolling character an opportunity for displacements from one place to the next. The deserted town has come to a standstill – the shooting took place during the lockdown – and this acts as a metaphor for the idleness of the characters. Garden Sandbox is light and nimble, whereas its main character hasa limp. Her demeanour and her stiff body exude a peculiar quality, somewhat comically at odds with the setting. Apathetically playing along, the young woman gleans from each character some pieces of information about the town and, then, touch by touch she delineates its picture: ultimately, the place comes acrossas a post-industrial locale whose foundries are now obsolete. Sakaguchi’s very meanderings lead her to a rich family’s house for a sewing lesson. In this pivotal scene, the lady of the house invites her to don an upper-class wedding dress. Through a gesture both radical and powerful, which itself informs the dynamic of the film as a whole, a gleeful snip of the scissors transforms the item of clothing into the ultimate chic of haute-couture design. What weaves together this truant escape whose motifs and fabric seem inspired by Jacques Rozier’s films, a crumbling industrial heritage and the transforming of a traditional wedding dress? With Garden Sandbox, whose title is a reference to the type of sand used in the foundries, joyfully and playfully, Yukinori Kurokawa interrogates the concepts of mutation and (re)use as sources of boundless possibilities. (Claire Lasolle)
因男友背叛而自杀未遂的朱美被偶然路过的仙女的弟子救下,便在仙女家里暂住。因生意不景气陷入倒闭危机的丁学通过色情业者沙美的介绍找到了丘陵谷里的仙女,仙女对英俊的丁学一见钟情,但当丁学对朱美产生好感时,仙女利用离奇的占卜试图阻止两人之间的感情。究竟仙女的占卜揭示出了什么真相呢……
第二季将在第一季的基础上实现更多包容与创新。用较多笔墨,探讨了立足世界视野的文化语境,开启了与世界并行的中国序章。如郑和下西洋,中国人完成的一次对世界的勇敢探索;意大利人利玛窦,通过学习中国语言和文化,实现中西文化鸿沟跨越;徐光启勤奋著述,翻译《几何原理》,试图将西方自然科学体系引进中国,让中国和世界紧密相连;乾隆皇帝接见英国马嘎尔尼使团,是东西方两个国家的一次特别的碰撞。 第二季也将邀约周涛、何炅担任解说员。周涛的解读深情饱满,表达深沉厚重历史的同时,兼具细腻婉约的声线让纪录片更有温度。何炅的声音浑厚亲切,充分拉近与观众的距离。全片没有对话,通过解说员声色情感带入,走进观众内心传递精神状态,历史情怀。虽然只有大全景式的写意画面,但何炅和周涛的配音极具"个性化"特色,对不同的历史人物保持的不同的讲述节奏,和"个人志"叙事式的解说词文案完美配合,极大丰富了观众的临场感体验。本季的解说词也都是经过极致打磨,优美又不失本真,让观众身临其境,仿佛回到中国诗人的精神故乡,聆听历史深处邈远的回声。
Ainsley (Kelsey Gunn) is a misanthrope who hates people but when she suddenly finds herself in isolation with no one to talk to, she realizes how much she actually misses connection. Enter Ulysses, a dead mouse in a jar. With a little bit of loneliness, a pinch of imagination, and a mouse- sized tuxedo, Ulysses becomes her training wheels in this newly discovered world of friendship.
《#暗夜浮魅2:大象坟场# 》是一部独立的实验电影,采用胶片(16毫米和超8毫米)拍摄。这是一次感官之旅,图像随着思维和感官通过环境声、人声和音乐而相继出现。 两部电影之间的联系在于故事、角色以及将一夜的时间分割成小时数的形式。这一概念的主旨是将这两部电影作为一个互文的整体,是同一个故事的两面,一段旅程被一个个时间间隔分隔开,邀请观众走进不同的电影体验。
在这个瞬息万变的环境中,每个掠夺者都必须克服新的挑战,抓住新的机遇。对于加拿大的北极熊、津巴布韦的野狗、智利的美洲狮、博茨瓦纳的狮子和坦桑尼亚的猎豹来说,这是终极的权力斗争。赌注从未如此之大——谁会赢,谁会输? 我们跟随这五位顶级掠食者在生命的关键时刻的故事,他们试图确保下一代的未来。这些人是致命的猎人、充满爱心的父母和狡猾的幸存者,他们在求生的过程中掌握着秘密和惊心动魄的故事,要应对多重责任。 最先进的摄像机技术将把观众带到世界各地令人惊叹的地点,以亲密的细节揭示掠食者的生活,让观众沉浸在他们复杂的世界中。一群配角动物角色,分享这些掠食者的王国,随着他们周围的世界的变化,他们的关系和权力斗争也发生了巨大的变化,紧张气氛也随之加剧。
Irfan, an innocent man with an ordinary life, is portrayed as the evil incarnated by media trials. Is there a journey back to normal life for a man accused of terrorism? Is there more to Irfan than what meets the eye?